MARINA GRZINIC

Dr. Marina Grzinic is a philosopher, artist and theoretician.
She lives in Ljubljana, Slovenia and works in Ljubljana and Vienna.
→ She is Professor at the Academy of Fine Arts in Vienna, Institute of  Fine Arts, Post Conceptual Art Practices and a researcher at the Institute of Philosophy at the ZRC SAZU (Scientific and Research Center of the Slovenian Academy of Science and Art) in Ljubljana. She also works as freelance media theorist, art critic and curator. Her most recent book is ‹Repoliticizing Art, Theory, Representation and New Media Technology, Academy of Fine Arts, Vienna and Schlebrügge. Editor, Vienna 2008.› In collaboration with Aina Smid, Grzinic has produced more than 40 video art projects, a short film, numerous video and media installations, several websites and an interactive CD-ROM (ZKM, Karlsruhe, Germany).



www.grzinic-smid.si

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grzinic
On Slovenian photography

[...] I want to think about photography, theory and art practices that are open to critical investment and, moreover, which are never innocent practices. I want to connect the underground movement in photography in Ljubljana with its more political and conceptual features that relates to Slovenia, ex-Yugoslavia, socialism and global capitalism. We are dealing here with the delineation of political lines within a certain (public) space, with a codification of this space and a naming of its political subjects. I have to point out that the East and West are not simple geographical determinations but paradigms, predominantly the effects of a performative, discursive and capitalist accumulation policy, not to mention the reality of two different systems, socialism and capitalism until the fall of the Berlin wall in 1989. It is necessary to deal with the issue of these different logics, which up until now have only been vaguely reflected in the reality of post-conceptual art and its position, in the differing frameworks of socialist and post-socialist Eastern European space and today capitalist Europe. Therefore, the physics and chemistry of photographic processes has remained almost unchanged, but what has changed is the context which, by establishing a relationship between photographic media and reality, conditions the interpretation of a photograph. Each photograph can tell several stories, but photographic 'appearance' no longer ensures veracity.
grzinic1 Rajko Bizjak, Eclipse, ‹Blood is Sweeter than Honey›, 2001